Wolfgang Amadeus Mozart – Sonatas For Piano & Violin – Sergei Filchenko, Alexandra Nepomnyashchaya (2009) SACD ISO

Wolfgang Amadeus Mozart – Sonatas For Piano & Violin – Sergei Filchenko, Alexandra Nepomnyashchaya (2009)
SACD Rip | SACD ISO | SACD DSD64 2.0 & 5.0 > 1-bit/2.8224 MHz | 01:05:16 minutes | 3,31 GB
Genre: Jazz | Front Cover, Digital Booklet | © Caro Mitis/Essential Music
Recorded: 10–11.05.2008, 16.05.2008 5th Studio of The Russian Television and Radio Broadcasting Company (RTR) Moscow, Russia

Russia’s Caro Mitis label has staked out territory in both the audiophile and the authentic-performance realms, and the label has often accomplished releases that combine its two strengths. The present release, featuring fortepianist Alexandra Nepomnyashchaya (say that fast five times) playing one of the very clean-sounding Walter fortepiano replicas by Belgian builder Chris Maene, offers a good example. Nepomnyashchaya and violinist Sergei Filchenko, playing a 1738 Florentine violin in the two outer sonatas and a Jacob Stainer instrument that produces a haunting effect in the Sonata in E minor, K. 304, deliver really compelling performances of these very familiar sonatas, with the sharp contrasts historical instruments can bring. The Sonata in G major for piano and violin, K. 379, has a very restless central fast movement and a lightly graceful theme and variations that give the listener the impression that the two have rethought the work from the ground up. Nepomnyashchaya applies added ornamentation in the slow movements and the variation finale of the G major sonata, always tastefully and carefully done, and the performers bring a real sense of spontaneity to the interaction between piano and violin that attracted reviewers and customers to these pieces in the 18th century; they push the tempo a bit but keep the expressive dimensions intimate. A very fine recording of some well-worn sonatas. Notes, in a rather breathy old-fashioned mode, are in English, Russian, and German.

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The Mahler Album – Amsterdam Sinfonietta, Candida Thompson (2011) [DSF Stereo DSD64/2.82MHz]

The Mahler Album – Amsterdam Sinfonietta, Candida Thompson (2011)
DSF Stereo DSD64/2.82MHz  | Time – 59:28 minutes | 2,34 GB | Genre: Classical
Source: ISO SACD | © Channel Classics Records B.V. | Front Cover, Booklet
Recorded: Philharmonie, Haarlem, The Netherlands; Stadsgehoorzaal, Leiden, The Netherlands; 3, 4, 5 October 2010 (Beethoven/Mahler Adagietto); 14,15 April 2010 (Mahler Adagio)

“A quartet for string orchestra! That sounds strange to you. I already know all the objections that will be raised: ruination of intimacy, of individuality. But that is an error. What I intend is only an ideal representation of the quartet. Chamber music is primarily written for the living room. It is really enjoyed only by the performers. The four ladies and gentlemen who sit at their music stands are also the audience towards which this music turns. If chamber music is transferred to the concert hall, this intimacy is already lost. But even more is lost. In a large space the four voices are lost and do not speak to the listener with the power that the composer wanted to give them. I give them this power by strengthening the voices. I unravel the expansion that is dormant in the voices and give the sounds wings.”
Thus Mahler in an open letter in the Viennese newspaper Die Wage in January 1899. On 14 January, during his first season as chief conductor of the Viennese Philharmonic Orchestra, he was to conduct the premiere of his arrangement for string orchestra of Beethoven’s String Quartet opus 95 ‘Quartetto serioso’. And what Mahler had anticipated did indeed occur during this concert: after the first movement loud cries of boo erupted, countered by fervent applause from Mahler’s supporters. Despite his deep conviction, Mahler never performed his arrangement again. His score and the orchestral parts were found in the late 1980s in the Viennese Philharmonic Orchestra archive. The arrangement was first published in 1990, and since then Mahler’s version of the ’Quartetto serioso’ has had a permanent place on concert stages around the world.

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